The Three Philosophers by Giorgione (Italian, 1477 1510) in the Kunsthistorisches Museum in Vienna and St. Francis in the Desert by Giovanni Bellini (ca. 1424/35 1516) in The Frick Collection, New York, are two of the most celebrated paintings of the Venetian Renaissance. Between at least 1525 and 1556 the two paintings were displayed together in the same house in Venice, the palazzo of Taddeo Contarini (ca. 1466 1540), a member of one of Venice's wealthiest patrician families. For the first time in more than four hundred years, these two masterpieces will be reunited. Accompanying their display at the Frick, this book explores the origins of the paintings and re-evaluates their shared histories in the collection of Taddeo Contarini. AUTHOR: Xavier F. Salomon is the deputy director and Peter Jay Sharp Chief Curator at the Frick Collection in New York. SELLING POINTS: . Reunites two Italian Renaissance masterpieces after more than four centuries apart, affording a re-examination of their joint history 35 colour illustrations

This pastel belongs to a small number of works of art at the Frick by a female artist. Rosalba Carriera (Italian, 1673 1757) spent most of her life in Venice, then a popular destination for young aristocrats from all over Europe undertaking the Grand Tour-a tour of the continent that served as an educational rite of passage into adulthood. Many of these travelers would go to Rosalba's studio to have a portrait painted, and Rosalba, who began her career as a miniaturist painter in Venice, became internationally acclaimed. Rosalba's pastels are technically innovative, remarkable for their soft edges and sumptuous effects. By binding colored chalk into sticks, she obtained a much wider range of prepared colors, which ultimately expanded the visual possibilities of this medium. Little is known about this portrait, painted about 1730. Despite the fragility of the medium-pastel-it is in pristine condition. The portrayal of the man as a pilgrim, with a black cape and holding a staff, may indicate that he was a member of the Pellegrini family-pellegrini being the Italian word for pilgrims-or that he is someone who traveled on a pilgrimage. More likely, however, his attire is simply a costume related to the Venetian Carnival. Designed to foster critical engagement and interest specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer. AUTHORS: Born in Lausanne in 1980, Nicolas Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st-century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Xavier F. Salomon is deputy director and Peter Jay Sharp Chief Curator, The Frick Collection, New York. SELLING POINTS: . New volume in the best selling Frick Diptych series that began with Holbein's Sir Thomas More by Hilary Mantel . Volume 13 focuses on an exquisite eighteenth-century Italian portrait 45 colour illustrations

'Never was a painter more nobly joyous, never did an artist take a greater delight in life, seeing it all as a kind of breezy festival and feeling it through the medium of perpetual success...He was the happiest of painters.' Henry James on Veronese, 1909 Collected here for the first time, these fascinating early biographies (one of which has never been translated before) describe and celebrate the astonishingly fertile art of Paolo Veronese. Most of what we know about Veronese comes from these three essays. 'I have known this Paolino and I have seen his beautiful works. He deserves to have a great volume written in praise of him, for his pictures prove that he is second to no other painter', wrote Veronese's contemporary Annibale Carracci in the margins to his copy of Vasari's writings, continuing 'and this fool passes over him in four lines. And just because he was not Florentine.' It was indeed a measure of his fame that Vasari, whose Life of Veronese is reprinted here, should have overcome his pro-Tuscan prejudices to write about his great Venetian contemporary; and he was followed in this by another Florentine, the theorist Raffaele Borghini. But the most striking record of the impact of Veronese's art on his countrymen is the extensive biography by his fellow Venetian, Carlo Ridolfi. Entirely original in the seriousness and passion with which he approached his subject, Ridolfi permanently changed the course of writing about art. This is the first translation of his work into English. Translated and introduced by Xavier F. Salomon, curator of Veronese: Renaissance Magnificence at the National Gallery, London. Fifty pages of colour illustrations cover the span of Veronese's breath-taking career.

A major figure in the Arte Povera movement of the late 1960s, the renowned Italian artist Giuseppe Penone is known for his exploration of the relationship between art and the natural world in a body of work that includes sculpture, performance, works on paper, and even garden design. His first works in porcelain, the exquisite disks presented here draw attention to the moment of touch—the convergence of surface and skin—that underpins so much of his work. Published to accompany The Frick Collection, New York’s temporary installation of works by Penone, this new volume comprises eleven porcelain disks that the artist made during his 2013 residency at the Manufacture Nationale de Sèvres, the influential porcelain factory founded in the 18th century. A continuation of his Propagazioni (Propagations) series, begun in 1995, which includes various media, each disk bears the imprint of one of the artist’s fingertips. One of them is in gold, its imprint a variation on the artist’s index finger. Never before presented to the public, the installation of the disks in a gallery adjacent to the Frick’s early Italian paintings on gold grounds and the porcelain room kindles a rich artistic dialogue with both porcelain and gold.

According to Nico Muhly, the Coronation of the Virgin is "a panel of pure theatre and music". Painted in 1358 by the Venetian artist Paolo Veneziano (ca. 1295-1362), the apocryphal story of the Virgin's death is depicted in one of the artist's most thrilling and important works. Paolo Veneziano presents the Virgin and Christ in sumptuous garments and surrounded by a choir of angels playing portable organs, lutes, trumpets, tambourines, and other instruments. The angels symbolize the harmony of the universe; their instruments are the authentic components of a medieval orchestra, accurately depicted and correctly held and played. The decorative sparkle of the surface - with its brilliant, expensive colours, patterned textiles, and lavish gold leaf - reflects the Venetians' love of luxury, a taste that enriches much of 14th- and 15th-century architecture in Venice.

An essay by Xavier F. Salomon, Frick Curator, paired with a contribution by author Francine Prose bring to life one of Titian's most personal and revealing portraits. Author of lives of saints, scurrilous verses, comedies, tragedies, and innumerable letters, Pietro Aretino (1492-1556) attained considerable wealth and influence, in part through literary flattery and blackmail. Little is known of his early years, but by 1527 he had settled permanently in Venice. Among Aretino's friends and patrons were some of the most prominent figures of his time, several of whom gave him gold chains such as the one he wears in this portrait. He was on intimate terms with Titian, who painted at least three portraits of him. Here the artist conveys his friend's intellectual power through the keen, forceful head and his worldliness through the solid, weighty mass of the richly robed figure.

Living Histories: Queer Views and Old Masters is an exciting volume featuring the work of four New York based artists, each presenting a single new work in conversation with celebrated paintings in The Frick Collection, with particular emphasis on issues of gender and queer identity typically excluded from narratives of early modern European art. The idea of commissioning four works to display at Frick Madison emerged when four masterpieces by Vermeer, Holbein, and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola and Salman Toor were commissioned to replace them, alongside other works by these artists. This book is the result of the four New York artists' responses to the Frick's collection, and the conversations their work engendered. Written contributions are provided by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey. SELLING POINTS: . Queer art for the Old Masters . Ties in with a series of ongoing installations of works by contemporary LGBTQ+ artists produced in response to selected works at the Frick . Contributions by artists, writers and curators bring a diverse and rich perspective . Featured artists Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, and Salman Toor allow us to see long-familiar works in the Frick's collection in new ways . Doron Langberg's Lover is paired with Hans Holbein's Sir Thomas More;; Jenna Gribbon's What Am I Doing Here? I Should Ask You the Same with Holbein's Thomas Cromwell Salman Toor's Museum Boys with Johannes Vermeer's Officer and Laughing Girl and Toyin Ojih Odutola's The Listener with Rembrandt's Self-Portrait 45 colour illustrations

This beautiful publication presents for the first time the Eveillard Gift of drawings to The Frick Collection, the most important gift of drawings and pastels in its history. It accompanies an exhibition at the Frick and includes a catalogue of the works and commentaries by noted scholars. Twenty-six works of art promised to The Frick Collection by Elizabeth and Jean-Marie Eveillard dramatically advance the museum's commitment to the research and display of European drawings. Included in this transformative gift from two longtime supporters of the Frick are exquisite drawings, pastels, prints, and one oil sketch by Francois Boucher, Gustave Caillebotte, Edgar Degas, Eugene Delacroix, Jean-Honore Fragonard, Thomas Lawrence, Francisco de Goya y Lucientes, John Singer Sargent, Elisabeth Vigee Le Brun, and Jean-Antoine Watteau, among others. The works include figurative sketches, independent studies, portraits, and landscape scenes, each either deepening the museum's celebrated holdings or bringing the work of an artist who is not face=Calibri>- but should be - represented in the collection. This lavishly illustrated publication, which accompanies an exhibition at the Frick, includes a catalogue of the works, as well as comprehensive commentaries on each of promised gifts written by noted scholars in their field.

Based on the critically acclaimed video series of the same name, Cocktails with a Curator presents a lively, relaxed, and informative mini-lecture on a single work in the Frick s collection. Most of the works discussed are paintings, but sculpture, drawings, and decorative arts objects are also subjects. Each commentary is accompanied by a recipe for a cocktail that ties in with the work presented. For instance, a Jaded Countess (absinthe, vodka, lemon juice, and simple syrup) is the cocktail paired with Ingres s beautiful portrait Comtesse d Haussonville. The Bloody Mary joins the intriguing story of the painting of Sir Thomas More by Hans Holbein the Younger, and a classic Pimm s Cup accompanies Thomas Gainsborough s lovely depiction of Grace Dalrymple Elliott. The inspiring and knowledgeable personalities of the curators come out with each of the sixty-five tales, all edited with an eye toward maintaining the tone of the videos.

An essay by Xavier F. Salomon paired with a contribution by award-winning novelist Alan Hollinghurst bring to life Jean-Honore Fragonard's (1732-1806) Progress of Love, a series of fourteen paintings considered by many to be the artist's masterpiece. The first four paintings were commissioned in 1771 for the comtesse du Barry, to be installed in 1772 in Louveciennes, the pavilion outside Paris built for her by her lover, Louis XV. By 1773 the canvases, The Pursuit, The Meeting, The Lover Crowned and Love Letters, had been rejected by Du Barry and returned to the artist. In 1790 Fragonard moved the canvases to his cousin's house, the Villa Maubert, in Grasse, and over the course of the year painted ten additional panels: two large-scale works, Love Triumphant and Reverie; four narrow "strips" depicting hollyhocks, and four overdoors of putti. Sold by the Maubert estate to the dealer Agnew's in 1898, the works were purchased in February 1915 by the industrialist Henry Clay Frick. By May 1916 the panels were installed at Frick's new mansion in New York in the present-day Fragonard Room in The Frick Collection.

A revealing exploration of Bartolomé Esteban Murillo’s genre paintings and the cultural significance of his depictions of ordinary people Bartolomé Esteban Murillo (1617–1682) is best known for his religious subject matter, yet some of his most iconic works depict secular themes. Celebrating Murillo’s genre paintings and shedding new light on the innovative portrayals of beggars, street urchins, and flower girls in the artist’s culturally rich narratives of youth and age, romance and seduction, and faith and charity, this generously illustrated volume features insightful essays that address Murillo’s art through the lenses of antiquity, northern culture, portraiture, and diversity in the city of Seville. The catalogue also contains detailed commentaries on the more than fifty works included in the exhibition, further exploring these paintings’ complex meanings to reveal their importance in their own time and suggest their relevance in our own. Distributed for the Kimbell Art Museum Exhibition Schedule: Kimbell Art Museum, Fort Worth, TX (September 18, 2022–January 29, 2023)

The Old Master paintings and European sculpture and decorative arts at the renowned Frick Collection might be thought to be all but inextricable from the domestic setting of the Gilded Age mansion in which they reside. For a couple of years, however, while the Frick is undergoing renovation, highlights from the collection have been relocated to a radically different, unlikely home: Marcel Breuer's Brutalist building five blocks away, which the architect designed for the Whitney Museum of American Art. The result is a stunning reconstruction and re-presentation of a beloved collection, with the museum's treasures comfortably and elegantly adapting to their temporary modernist abode. This handsome volume documents this altogether singular moment in the Frick's history with stunning photographs by Joseph Coscia Jr. and a reflective foreword by Roxane Gay.